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Friday, 3 October 2014

Jaan Rääts – Marginalia

Jaan Rääts Marginalia; Kalle Randalu; Estonia Record Productions
Reviewed by Hilary Glover
on Sep 13 2014Star rating: 4.0
Piano music from one of Estonia's most well known composers

Jaan
Rääts (1932-) is one of Estonia’s most well known
composers. He wrote extensively for the movies – providing the
scores for a dozen Estonian language films
as well as composing eight symphonies and six string quartets. But
his love for piano can be seen in the ten piano sonatas and seven
piano trios plus preludes, bagatelles, toccatas, variations, and
other cycles for piano.

Rääts style is often described as
‘Anti-Romantic’, refraining from dramatic over-development and
instead focussing on rhythm and repetition. Within a defined
framework he is not afraid to use the motifs and ideas of other
styles whether Baroque, Classical or Romantic, and is equally as
likely to use folk or popular music. But these are all subject to his
personal treatment - with rapid contrasts in dynamic, movement and
motif, providing a drama of its own.
‘Marginalia’ was written in 1979-80
and was premiered by Estonian pianist Kalle
Randalu (who it is also dedicated to) in February 1980
in Tallinn. Each of the 24 short pieces represents an interpretation,
or perhaps a comment on, different soundscapes throughout musical
history from Baroque to 20th century popular music.

From the simplicity of no.1, where very
simple treatment of arpeggios results in a distinct and effective
meditation, the set expands and contracts through different and
contrasting ideas. More complex and less rigid than the tintinnabuli
of Arvo Pärt, this is minimalism with a heart. But it is Randalu’s
interpretation that brings these little ideas to life. Each flows
into the next, distinct but linked together, taking the listener on a
journey.

While a student, and for several years
after, Rääts worked as a sound engineer at the Estonia Radio and
consequently was very interested in modern technology in music.
Together with electronic music pioneer Sven
Grünberg he performed and produced an extension of
‘Marginalia’ using keyboards and synthesiser. ‘Electronic
Marginalia’ reuses the ideas and material from at least nine of the
piano pieces, plus some new, in one long movement. Each section uses
different electronic sounds and techniques to produce a kaleidoscope
of sounds.

For me the electronic version, while
interesting, is less effective. Perhaps this is just because the
synthesiser used in now old fashioned - in the 1980’s this would
have been cutting edge and innovative. But also perhaps it is due to
the nature of the instruments used. The piano is able to bring
something alive to the performance which the electronic set up alone,
despite its cleverness, is not able to reproduce.

Quickening:

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